When director Maria Schrader and screenwriter Rebecca Lenkiewicz started growing “She Said” as a movie, they rapidly established a number of floor guidelines.
Their dramatization of the New York Instances investigation that toppled Hollywood producer Harvey Weinstein and triggered a world reckoning wouldn’t embrace visible depictions of sexual assault or harassment. As a substitute, the survivors — some even taking part in themselves — would recall the incidents utilizing their very own phrases.
There could be no feminine nudity and no brutalized victims on the crime scene. Survivors could be absolutely rounded people, outlined extra by their bravery and resilience than their encounters with an abusive Hollywood energy participant.
And, in arguably essentially the most radical departure — given the outsize affect he wielded within the enterprise and the trade’s enduring fascination with violent predators — Weinstein himself would exist on the edges of the story. The truth is, the viewers would by no means even see his face.
“The film is not about Weinstein, it’s about a collective of women who break down decades of silence through their bravery,” mentioned Lenkiewicz, who started adapting the investigation by Jodi Kantor and Megan Twohey even earlier than it was printed as a guide in 2019. “We all felt that Weinstein had taken up enough oxygen for several lifetimes and I couldn’t envisage writing a script with him in it.”
A propulsive procedural that, just like the Oscar-winning “Spotlight,” exhibits the persistence, institutional help and good, old style shoe-leather reporting it takes to uncover long-buried truths, “She Said” is a celebration of the decided journalists who managed to crack the case and, particularly, the unsung ladies who got here ahead to share their tales after their Hollywood careers have been sidelined.
Tellingly, the movie opens from the angle of Laura Madden (performed in flashback by Lola Petticrew and within the current day by Jennifer Ehle) as she stumbles onto a seemingly magical movie set in Eire. However the spell is rapidly damaged: Seconds later, we see her working, in a panic, down metropolis streets. Later, we learn the way Weinstein lured her to a lodge room, requested her for a therapeutic massage and pressured her into undesirable sexual contact — a decisive sample that might emerge within the accounts of many survivors.
Together with Madden, two different ladies turn out to be essential sources within the investigation — and characters within the movie. Zelda Perkins (Samantha Morton) and Rowena Chiu (Angela Yeoh) have been each assistants in Miramax’s London workplaces within the late ‘90s when Chiu told Perkins that Weinstein had attempted to rape her at the Venice Film Festival. Perkins reported Weinstein’s alleged conduct however was, together with Chiu, pushed to signal a complete nondisclosure settlement. Each ladies in the end left the movie enterprise, as did Madden.
“Famous actresses got much of the attention during the #MeToo explosion, but these little-known women were in many ways the heart of what happened,” Kantor wrote in an e-mail. “To me, this film returns them to Hollywood with a dignity and respect they were never given the first time around.”
Kantor and Twohey facilitated introductions to those sources, and as she started writing the script, Lenkiewicz frolicked with Perkins, Madden and Chiu. “I wanted them to feel safe in the space of the film: [to know] that we weren’t just hijacking their lives, that we absolutely respected them and admired them for being for being part of the project,” she mentioned.
“The attacks are described because I think it’s important for people to know the trauma and the authentic voice of the survivors. Just the retelling is enough,” mentioned Lenkiewicz. “I’m very conscious of the male gaze, how it’s been there for decades, and it’s really liberating to turn that around and just have women center stage — being active and working together and not having to take their clothes off.”
Every time they might, the filmmakers included actual survivors and their accounts, giving “She Said” an nearly documentary really feel at occasions. We hear the precise audio recording of Weinstein harassing mannequin Ambra Battilana Gutierrez and acknowledging a previous assault as a result of, Lenkiewicz mentioned, “It was very important to understand how Weinstein worked — that it was very hard to negotiate or navigate against the force of his will.”
However the tape is accompanied by photographs of empty lodge corridors, not actors doing a re-creation.
“[As] you listen to something which is very physical, you almost have a fantasy of these two bodies as one tries to escape, but we chose the opposite: to have a very steady camera moving through the corridors,” Schrader said. “[Cinematographer] Natasha [Braier] and I always tried to stay away from illustration.”
In the film’s final act, as the New York Times prepares to publish the investigation, we hear Weinstein’s real voice on the phone with Kantor, Twohey and their editors. (Seen fleetingly from behind, actor Mike Houston also makes a brief appearance as the producer in a scene in a Times conference room.)
Actors Gwyneth Paltrow and Judith Godrèche, both of whom eventually went on the record to accuse Weinstein of harassment, also lend their voices to “She Said.” Former Weinstein Company employee Lauren O’Connor reads the scathing memo she wrote in 2015, which became a key piece of evidence in Kantor and Twohey’s initial investigation.
“Everyone was invited to be involved,” Lenkiewicz said. “There was also a conscious casting of survivors in different roles.”
Ashley Judd, the most high-profile celebrity to go on the record in Twohey and Kantor’s initial report, appears as herself, recalling how Weinstein lured her to a suite at the Peninsula Hotel 30 years ago and badgered her to give him a massage or watch him shower. (Her story is accompanied by images of a luxurious hotel suite.)
Judd reviewed the script and gave feedback about the wording of her account, Schrader said: “Ashley was in from the first moment I met her. She’s an incredible, impressive person.” The moment Judd decides, after much discussion, to go on the record with her allegations marks the emotional climax of the film.
Like Twohey and Kantor, the filmmakers had to convince the survivors they could be entrusted with telling their stories.
“We tried to treat the accounts and the scenes with survivors with as much care as Jodi and Megan did” in their reporting, said Schrader, whose series “Unorthodox” explored related themes of female agency and sexual trauma. An actor for many years before she became a director, Schrader recalled how the reports about Weinstein in 2017 made her reconsider “little incidents and then not-so-little incidents” she experienced in the business and begrudgingly accepted.
“I was definitely one of these people who tried to not be affected, or tried to meet it with humor,” she mentioned.
Hollywood is infamous for taking beneficiant liberties with something “based on a true story” — rearranging timelines, altering characters’ names and inventing conversations out of entire material. The delicate nature of the fabric in “She Said” demanded a extra cautious strategy.
Lenkiewicz estimates that about 95% of the story is correct, although she took “tiny liberties” for the sake of dramatic impression. In spite of everything, “hearing a phone call is more exciting than reading an email,” she mentioned. “It’s the truth, just a bit more animated.”
Twohey and Kantor talked to Mulligan and Kazan about their methods for interviewing survivors.
Mulligan wished to know “not just what words are said but in what tone and with what body language. She also wanted to know how we contain our emotions as we report into such upsetting discoveries,” mentioned Twohey, who shared some recordings with the actor. “It was really moving to see all that research expressed on screen.”
“Those kinds of interviews are hard to get right in life, let alone on film. You’ve got to be empathetic but also assess the strength of the account. You’re also trying to earn trust in the investigation,” mentioned Kantor. “In those interview scenes, [Kazan]’s so restrained, giving the spotlight to the woman telling the story. But because she’s such an expressive actor, you can see the emotions glinting beneath her professional demeanor.”
To boost the movie’s feminine perspective, Lenkiewicz included points of Twohey and Kantor’s private lives that have been largely overlooked of the guide. “I wanted to put in as many aspects of being female as possible,” she mentioned. “Megan and Jodi both have daughters, and I didn’t think that working mothers had been depicted often, or very well.”
Each reporters are always juggling calls that come at inopportune moments — on the physician’s workplace or throughout household outings. In one of many movie’s most relatable moments, Kantor jots down her Netflix password and arms it to her daughter whereas she’s on the telephone with a supply.
Twohey, in the meantime, is thrust into the Weinstein investigation instantly after coming back from maternity depart, whereas recovering from postpartum melancholy.
“I will confess that I felt a bit vulnerable making this leap, especially with one of the more painful chapters of my life,” mentioned Twohey. “But the more we talked with the filmmakers, the more we came to see this as a real opportunity. Our hope is that other working mothers will identify with these characters and feel seen by the film.”
And that, mentioned Lenkiewicz, is the last word objective of the movie: “If it opens up conversation and if it makes anyone feel solidarity with other women, then we’ve done our work.”